Santa Cruz Symphony Existential Worlds

On Sunday, November 15, the Santa Cruz Symphony, under the capable baton of Maestro “Danny” Stewart, the concert began without announcement in full support of France when the orchestra performed La Marseillaise. It ended with a standing ovation by the sell-out audience and in addition, two works scheduled on the program were by French composers.

The concert consisted of Clair de Lune (1890; revised 1905) by Claude Debussy (1862-1918); the monumental Symphony No. 8 in B minor, D. 759, “Unfinished” (1822) by Franz Schubert (1797-1828), Cello Concerto No. 1 in A minor, Op. 33 (1872) by Camille Saint-Saëns (1835-1921) featuring the brilliant 16 year-old cello soloist Zlatomir Fung and Danzon No. 2 (1944) by Arturo Marquez (1950 – present).

Claire de Lune is certainly one of Debussy›s musical trademarks. The orchestration employed by the Santa Cruz Symphony was that of Caplet, who also orchestrated several other works of Debussy›s piano music. True to this charming work was the delicacy of tone color effectively brought out by the orchestra with its excellent harp and flute performances.

Two selections were not of the “normal” form of concertos and Symphonies of the “Classical” three part, fast, slow, fast form which gave way to the addition of a fourth movement creating the fast, slow, minuet or scherzo and fast formal structure. In both the Saint-Saëns and Schubert works we find a different approach. Saint-Saëns employed one continuous movement and Schubert just two, thus the title, “Unfinished.” This eighth symphony of Schubert is not “unfinished”, but is one of the most beautifully and masterfully composed symphonic works! Schubert did plan a third unrealized movement.

The cellos and contra basses introduced part 1 of the foreboding, somber principal theme in the first eight measures, which then was carried on by the violins, the oboe and clarinet before the entrance of the full orchestra to continue the deep sense of darkness and introspection. Maestro Stewart artfully shaped the dramatically profound ebb and flow of this unforgettable work. Of particular note were the many solo moments meticulously executed by members of the wind, brass and percussion sections.

From the onset of the Saint-Saëns Cello Concerto, the lyrical playing of sixteen-year-old soloist Zlatomir Fung was well shaped, clear and in perfect balance with the orchestra. Moments of virtuosity surged forth with energy, thrust, warmth of tone and expressive details even in the fastest passages.

Marquez’s Danzon No. 2 was a delightful surprise. A well planned composition that offered moments of elegance and passion and Latin rhythms. The nostalgic Mexican melodies and exciting rhythmic patterns wove a most interesting fabric of sound. Bravo to the percussionists who certainly enjoyed their role and to the string sections who created a superb sound aura of subtle pizzicati that were executed with perfection and charm. The charismatic Maestro personally congratulated every member of the orchestra for a brilliant ending of the 2015 Season. Now for 2016!